In this issue, the spotlight is on single-owner sales. We speak with Emily Humphries, daughter of Barry Humphries, about her father and his passion for collecting, delve into the concept of a single-owner auction, uncover the fascinating history of Marjorie Ho of East & West Art, and more.
Barry Humphries: Artist & Collector Auction 3 June, 6pm
below:
Jaeger-Le Coultre Atmos 568 by Marc Newson reference Q5165107 a Baccarat Crystal Atmos clock with month and moon phases, circa 2020
$30,000-50,000
Timepieces Auction 23 June, 4pm, Melbourne
auction calendar
June – July 2025
features
What exactly is a “Single-Owner” Sale?
Barry Humphries: Artist & Collector
Decorative Treasure: An Exhibition-Quality New Zealand Specimen
Wood Cabinet And It's Heritage
Curated for Winter: Art Exhibitions to Visit this Season
Schulim Krimper: Mid-Century Artist & Master Craftsman
The Rise of Retro Jewels: 1930s to Mid-Century Glamour
In Conversation with Ben Danks
Timeless Elegance: The Legendary Jewels of Grace Kelly
Marjorie Ho’s East & West Art
Five Classic Gucci Bags to Invest In
Brooching the Subject: The Renaissance of Artful Adornment
In Print: Six Years of Standout Works and Stories
The distortion of proportion – an exercise in asymmetrical watches
in focus
Five Minutes with Jane Goh
22nd Report: Why Rescuing Individual Animals Matters A Last Look join us Connect Value, Sell & Buy
AUCTION CALENDAR
JUNE –
JULY
The Auction Salon
The Collector's Auction
Tue 3 Jun, 12pm
Sydney
Barry Humphries: Artist & Collector Tue 3 Jun, 6pm
Sydney
The Sydney Jewellery Edit Thu 5 Jun, 2pm
Sydney
Marjorie Ho and The East & West Art Gallery Legacy Pt.I
Sun 8 Jun, 11am
Melbourne
Marjorie Ho and The East & West Art Gallery Legacy Pt.II Tue 10 Jun, 11:30am
Melbourne
Specialist Rugs Thu 12 Jun, 2pm
Melbourne
California Dreaming, Treasure Hunting in the USA Mon 16 Jun, 11am
Melbourne
Sidney Nolan, Works from the Artist's Studio Mon 16 Jun, 2pm
Melbourne
Timepieces Mon 23 Jun, 4pm
Melbourne
Fine Jewels Mon 23 Jun, 6pm
Melbourne
Fine Art Tue 24 Jun, 6pm
Melbourne
Arthur Boyd: The Printmaker's Archive Wed 25 Jun, 12pm
Sydney
Decorative Arts Mon 7 Jul, 6pm
Melbourne
The Sydney Jewellery Edit Thu 10 Jul, 2pm
Sydney
Modern Design Mon 21 Jul, 6pm
Melbourne
Luxury Tue 22 Jul, 6pm
Melbourne
Furniture & Interiors, Objects & Collectables, Jewellery, Art Every Thu from 10am
Melbourne
Fine Jewels
What exactly is a “Single-Owner” Sale?
by john albrecht, managing director & head of important collections
Encountering a collection that challenges both our own knowledge and the limits of readily available expertise is both daunting and exhilarating. The
a
Our initial visits to the home of The Hose Collection of Clocks in 2018 was unquestionably one of the most captivating experiences of my career. It was a veritable museum in the suburbs, hidden away from the world. One man’s splendid obsession.
Hurlston Collection of Guitars in 2019 was precisely such
challenge, ultimately leading us to consult specialists in the United Kingdom.
The Estate of James Fairfax, from 2017, was one of those rare collections that seamlessly combined locally sourced pieces with international acquisitions, spanning the full breadth of the collecting spectrum.
a fun story from two decades ago goes something like this. A client walked into a Melbourne auction house and advised that she was both “single” and delighted to hear that the auction house was accepting consignments from single people. It was perhaps a little tongue-in-cheek, but it also highlighted the kind of language auctioneers use - and how it can sometimes confuse.
Let me dispel any confusion here. A single-owner sale (or auction), the same thing really, is an offering where the collection is owned and being sold by one vendor. The vendor might be a living collector, it might be an Estate representing a collector or it might simply be an entity, a corporation for example, which owns a collection. The collection itself can comprise of well, really, anything. It could focus on a single category, or span across multiple ones.
So why all the fuss about single-owner collections?
No one in Melbourne has conducted more of these than Leonard Joel over its 106 years so I feel I can answer this question reasonably succinctly and hopefully add a bit of value to the single-owner concept.
To begin with, we humans are naturally drawn to the back story of ownership and personality that comes with a single-owner sale. Who owns it, what did their life speak of and where did they travel, are often the questions most asked. It’s at its most fascinating when it’s a public figure. Why? Because entering such a collection is, in many ways, an invitation to their home; an invitation we would never have enjoyed otherwise. My visits to the Fairfax estate, the Barassi home and Mirka Mora’s studio/ home were magical for me!
Secondly, these sales are also a real-time insight into what a collection can look like, what themes run through the collectioneither intended or unattended - and how thoughtful and considered the collection really is. Some collections are chaotic, where no item speaks to another - and that in itself becomes the theme, while others can be very cerebral indeed. My visit to Mr Hose’s home of clocks was fantastic and museum-like while my visit to the Hurlston home, full of every imaginable guitar, a category I knew nothing about, spoke of laser-focused passion and interest. A man that simply loved clocks, their complexity and another who loved a single instrument, in all its forms.
And finally, single-owner sales are worth considering not just for collectors in the process of acquiring, but also for those thinking ahead to dispersal. The attraction of the single-owner sale is unique and generates different outcomes to a collection that is dispersed piecemeal or gradually over time. Yes, unquestionably, a single item of rarity and beauty - that is in vogue with collectors - can stand in any auction alone but there are benefits to the collective sale process too.
At the top of that list is the premium that single-owner sales seem to attract. If one could sell the exact same collection twicesomething that I don’t believe has ever been done - once as a singleowner sale and once as a typical multi-vendor sale, a noticeable uplift in prices would be observed in the single-owner edition. Curiously, within these sales, it’s also observed that less valuable items typically enjoy more significant uplift. In essence, the collective effect and the presence of the more valuable generates real upside in the decorative and more modestly estimated items.
But there can be exceptions to this rule.
The piece, the “rose among the thorns”, that feels far too valuable, and somewhat uncomfortable, in the context of the broader collection might sometimes be best considered for exclusion and for placement in a multi-vendor auction but of the same category, surrounded by similarly valuable items. But is there are a hard and fast rule here? Not really. How a collection is ultimately curated for auction is as much an art as a science and really, ultimately, a deeply personal discussion between auctioneer and seller. And that brainstorming about how, where and when a collection should be sold, ultimately, in my opinion, yields the best possible result.
Again, the Barassi collection from 2016 tested our own knowledge base when it came to managing the most important collection of Australian Rules football material ever assembled by one individual. For this collection we engaged the archival expertise of Colin Hutchinson, the AFL’s historian and statistician.
On the 3rd of June, Leonard Joel will bring to auction a selection of artworks from the private collection of Barry Humphries AC CBE in Sydney.
by madeleine mackenzie, head of decorative arts & art, sydney
Barry Humphries: Artist & Collector
The auction features work by Humphries himself, alongside other well-known Australian and international artists. Best known for his work as an actor and comedian, particularly his satirical portrayal of the characters Dame Edna Everage and Les Patterson, Humphries was also an avid art collector. He was a true aesthete with an incredible intellectual curiosity and his collecting habits spanned books, sculpture, painting, photography, printmaking and drawing from the 19th century through to now.
In April we sat down with Humphries’ daughter Emily to chat about her father and his collecting passions.
Thank you so much for taking the time to talk to us. Can you start by sharing with us the story of how your father’s interest in collecting began?
I think Dad has always been a collector. Our grandfather Eric adored his eldest son and I have been told he indulged Dad with an endless and impressive stream of costumes. The demonstrative display of affection and praise that followed may have been the first strides in a pride of ownership and display. However, I think growing up in conservative, mid-20th Century, middle class Melbourne had a lot to do with it too. Dad always described himself as feeling oddly displaced as a child. This amplified as he grew older, being bullied badly at school. I think the ladder out of that certain kind of hell is to either become more like your contemporaries or become more like yourself. Dad most certainly did the latter. I think he found a surer identity in collecting, as the act of collecting draws you closer to the company of the inspired. It’s one of the generous things about Art, the simple act of viewing can alone transport you to a virtual and sometimes kinder space. It can change and add to your perception of yourself and the world around you and in that it adds to your world more than the cost of the exchange.
below:
George Barbier
(French, 1882-1932)
Eve, gouache, gold pen, gold leaf and pencil on paper
19 x 38cm (irregular)
$1,000-2,000
right: Alfred Auguste Janniot
(French, 1889-1969)
Nymph Head from ‘Homage to Jean Goujon’ 1924/2005 bronze, ed. 4/8, conceived 1924, cast posthumously c.2005, height 35cm, overall height 55cm
What are some of your earliest memories of your father’s collecting habits?
As the daughter of a collector who was always on the hunt, I have very few memories of my father that weren’t around collecting, talking about or looking at art. My brother Oscar summed it up perfectly in saying, “some families have sport as something that brought them together and ours had art because Dad’s sport was hunting out artworks.
If you took a stroll with him or wandered down a street, he would almost immediately circumnavigate the journey, swooping suddenly from the pavement into a book shop, gallery or antique shop. On snowy or cold days, it was not always such a winning move. Off cuff he would describe himself as a dilettante, but he was incredibly erudite with his constant and deep enquiry, coupled with his almost insatiable thirst for objects of beauty. Objects would nag and beckon him round corners or upstairs, it was like he would simply look until he could quiet them or himself, or both!
Where were some of his favourite places to acquire pieces from?
There were no particular favourite haunts, or rather many. His eye was always roving and he travelled constantly, so his network of haunts stretched continents. He did form special relationships with art dealers and antiquarian book sellers. Mostly however, he loved being in the company of other artists with their free spirited and ready exchange of ideas and information. In London in the 60’s our Little Venice living room was a staple of boozed up English comedians and extraordinary Australian artists, all escaping the same turgid fear of conformity. It was a fabulous mad house of wit and terror always sliding on the edge of a new idea or experience. When Dad’s life took a more sober turn, his passion for the wit and fuel of others didn’t diffuse. Art and artists, that was his life force really.
$8,000-12,000
far right:
George Hurrell (American, 1904-1992)
Marlene Dietrich 1938
silver gelatin print, ed. 14/15, printed c.1979
38 x 49cm
$2,000-3,000
Do you know what artists formed his early collection?
The Heidelberg artist, Charles Conder, was probably Dad’s original and most enduring passion. He loved Sydney Long too and had some excellent examples of his work. Throughout his career as a collector he never lost his profound connection with late 19th century and early 20th century art.
Do you recall a special purchase he celebrated or was particularly thrilled about at the time?
Yes, I remember him showing me works he had bought by the French symbolist, Gustave Adolf Mossa. He was also delighted with the charming works he had acquired by George Barbier, a French artist who painted around the time of Conder. The large and more notable works in his collection were not essentially viewed by him as better. He had a keen eye and a real commitment to honouring it. If it was less known and exquisite, it had a different kind of allure.
What relationship do you feel his collecting had with his career? Was it a private hobby that he maintained separate to his professional accomplishments? Or do you feel the two intersected?
Whenever I think about my father, I see both the collector and the creator really side by side. It would be hard to determine which had greater dominance. Whether it was acquisition or delivery he was delighted and inspired by the creations of others.
Your father produced a prolific body of his own work. How much a part of his life was his drawing and painting?
Painting was, from very early in his life, Dad's primary joy. The Humphries family had a holiday house at Mornington where he would perch on the sandy cliffs and paint. With aspirations to be a painter, he went on to take lessons with Melbourne artist George Bell. In the early 50’s he had his own style Dada exhibition with works such as, ‘Pus in Boots,’ a pair of leather boots spilling with custard amongst others. His Willie Weeties, photolithographs, which form part of the auction, had their genesis in the sixties. My mother, who arrived in Australia as a principal dancer in the newly formed New Zealand ballet, tells the story of a young man in the 1950’s who was a painter by choice but called to the stage. As fate would have it, his theatrical talents eclipsed his designs, with his profound ability to make the spectacle, himself.
Did you ever watch him paint or draw or was this a more private part of his world?
Dad was an odd mix of extremely public while also being quite a closed shop. He was always making something or at the least spinning something in the ether. Holidays with him would often involve the transportation of wet canvases produced in awkward locales such as a Samoan beach or a windy urban balcony. It was almost impossible to have a meal with him without a pen appearing at some point, a black felt tip tearing up a napkin. He would spot a quirk in someone across the floor and he would rapidly commit his vision to the closest paper at hand. I remember him actually scribbling in ink on a starched tablecloth in a rather expensive restaurant. The watercolour and ink study of Provence and the Paris street-scenes remind me so much of landing in Paris, where we would stay in a little hotel on the left bank and awake to the bustle of the street market below. So I guess I relive that jaunty Parisian experience when I look at these pieces. When I look at his sketches today, most of what I see is this joyous and incessant desire to engage. His desire to capture life in an instant, join with something, reflect upon it and then place it where it can live on.
Are there a few pieces in the auction that give an insight into him as an artist?
Yes, I would say, the work by the Scottish artist Paul Binnie is a good example of his way of viewing, and the works by George Barbier too. Binnie, is a very fine contemporary artist and printmaker who captures character in a strikingly modern and yet timeless way. The beautiful Janniot bronze, speaks to his enduring love of the French art of that era. Notable too, are the Photographs in the collection. Dad had an affinity for photography’s ability to capture spirit. On entering his Quay West apartment, you would be immediately greeted with the blooming, curvature of Joanna Lumley’s behind. Resting on the same wall were George Hurrell’s smoky divas of the past, Marlene Dietrich and Gene Tierney. So much of how Dad saw himself; iconic creatures freed by the gaze and yet captured in the light.
The Barry Humphries: Artist & Collector Auction will take place on Tuesday, 3 June at 6pm in Sydney. For viewing times and to see the full catalogue please visit our website.
right: Clifton Pugh (1924-1990)
Study for Portrait of Barry Humphries 1959 oil on board
x 37cm
Decorative Treasure: An Exhibition-Quality New Zealand Specimen Wood Cabinet And It's Heritage
by david parsons, head of private estates & valuations and decorative arts specialist
leonard joel’s july decorative arts auction will include an exceptional nineteenth century New Zealand secretaire cabinet. While there is uncertainty as to its maker, it nevertheless stands as a fine example of the coming together in New Zealand of two traditions in fine cabinet-making: ‘specimen’ wood furniture and ‘exhibition’ furniture.
While much English and European furniture made from the late seventeenth to the nineteenth centuries was decoratively veneered in one style or another, the term ‘specimen’ furniture usually refers to those pieces specifically made to show off a range of specimens of fine and rare woods (or stones, as in pietra dure work). Most effectively applied on pieces with larger flat surfaces such as cabinets, tables, and boxes, thinly-cut pieces of the specimen woods were laid together as veneer, typically by juxtaposing woods of different colour and figuring to striking effect (‘figure’ being the natural features such as pronounced grain patterns or variations in colour in wood or stone).
From the seventeenth century onwards, the use of veneers of fine woods generally reflected the increasing availability of exotic woods, especially highly-figured Asian and South American species, through the expansion of trade and colonial settlement. In early nineteenth century Britain, this was given further impetus by the growing consciousness of Britain as a colonial power, prompting the main period of production of specimen wood furniture – specimens of resources from Britain’s colonies brought into fashionable sitting rooms in England, drawing together the ends of the empire.1 This encompassed both locally-made pieces veneered with imported exotic woods – such as a workbox made by Gillows’ of Lancaster in 1808 veneered with specimens of seventy-two woods, the majority exotic (including four Australian)2 – to pieces made in the colonies for export to Britain, such as circular tables made in Ceylon and India with segmentally-veneered tops in various local woods.
The inter-relationship between colonialism, international trade, and individual countries and manufacturers’ pride in what they were able to contribute to this was further boosted by the various international and Anglo-colonial exhibitions staged in the decades following the landmark Great Exhibition in London in 1851. The recognition and opportunities af-
forded by these fairs, which were widely reported and illustrated, prompted manufacturers and artisans to make special, often spectacular ‘exhibition’ examples of their work to show off their skills.
Despite its remoteness and relative infancy as a colony (independent from 1841), New Zealand shared in these developments. As traced by William Cottrell in his magisterial work on the subject,3 the variety, quality, and potential appeal to the market of native New Zealand woods, many rich in colour and figuring, was noticed early, with trade in the woods and fine furniture made with them soon following. Several international exhibitions were held in New Zealand, the first in 1865, with local furniture makers contributing superb specimen wood pieces to these and also to important fairs in Australia, Britain, and elsewhere.
The cabinet to be offered in our July auction – a secretaire with ‘secret’ concealed interior – is made with specimens (in solid wood and veneers) of eight or nine different New Zealand species, some with specimens of two or three different types of figuring of each. The veneers are laid in various designs, fields, and borders combined with carved relief centrepieces of fern fronds, peas, and other native plants to the upper panels. It is one of a series of four similar exhibition-type cabinets known to Mr Cottrell, including one of identical design but different details now in the Kauri Museum, Matakohe, and another of different design in the Powerhouse Museum, Sydney, all likely by the same Auckland maker working around 1870–1890 (possibly one H.M. Gill, of whom there is little record).
1. See generally Freya Gowrley, ‘Classical Histories, Colonial Objects: The Specimen Table Across Time and Space’, British Art Studies, 21 (November 2021) (https://britishartstudies.ac.uk/issues/issue-index/issue-21/ the-specimen-table-across-time-and-space).
2. Adam Bowett, ‘A Specimen Wood Workbox of 1808 by Gillows, Lancaster’, Regional Furniture, XXV (2011), pp 71–96.
3. William Cottrell, Furniture of the New Zealand Colonial Era: An Illustrated History, 1830–1900 (Auckland, 2006).
Our Decorative Arts Auction will take place on Monday, 7 July at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
Curated for Winter: Art Exhibitions to Visit this Season
by amanda north, senior fine art specialist
left: Frida Kahlo, Mexican painter/ Alamy
as the winter months settle in, art lovers have the perfect excuse to seek warmth and inspiration indoors with an array of compelling exhibitions. Curated for the season, these exhibitions offer a variety of artistic experiences—from evocative contemporary works to insightful historical retrospectives and winter art festivals. Whether you are drawn to soothing pastel landscapes, portraiture, immersive installations, or bold new art, there is something to brighten even the greyest day. Here are my top picks to add to your winter calendar.
FRENCH IMPRESSIONISM
6 June - 5 October
NGV International, Melbourne
This year, the Melbourne Winter Masterpiece at the National Gallery of Victoria is ‘French Impressionism’. This is a major exhibition developed by the Museum of Fine Arts, Boston, in partnership with the NGV. It follows the trajectory of Impressionism and Post-Impressionism in the late nineteenth-century in France and highlights the renowned avant-garde artists who were at the centre of this period of radical experimentation and the rejection of artistic conventions at the time. It presents over one hundred paintings by key artists including Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, Édouard Manet, Mary Cassatt, Berthe Morisot, Paul Signac and Alfred Sisley. The selection of artworks highlights the iconic Impressionism tropes, such as distinctive brushwork, vivid use of colour and light, and depictions of subjects and places that are personal to the artists.
FRIDA KAHLO: IN HER OWN IMAGE
15 March - 13 July
Bendigo Art Gallery, Bendigo, Victoria
This exhibition presents an intimate perspective of an influential and iconic artist of the twentieth century, Frida Kahlo. It will include Kahlo’s personal belongings, clothing, make-up, accessories, and medical items which are on loan from the Museo Frida Kahlo in Mexico for the first time in Australia. These items have been sealed in a bathroom for fifty years after Kahlo’s death, in her family home, La Casa Azul. Following the rediscovery of this collection, it has provided an intimate perspective and greater personal insight into Kahlo’s carefully crafted appearance, which often included vibrant clothing, dramatic make-up and accessories and decorated medical protheses. The exhibition explores the personal, political, philosophical, and artistic influences which shaped Kahlo’s distinctive world view and informed her groundbreaking creative output.
DARK MOFO, MONA
5 - 15 June
Hobart, Tasmania
The iconic winter festival, Dark Mofo will be making a full return to Hobart this year. Dark Mofo is an annual mid-winter arts and culture festival held by the Museum of Old and New Art (MONA) in Hobart, Tasmania. Launched in 2013, this festival celebrates the darkness of the southern winter solstice with various events, including art installations, music, and performances with a line-up of international, local, and Tasmanian artists. Iconic events will be returning this year, such as Night Mass, the Winter Feast, the Ogoh-Ogoh, and the Nude Solstice Swim.
ARCHIBALD, WYNNE AND SULMAN PRIZES
10 May - 27 August (followed by a national tour until September 13, 2026)
Art Gallery of New South Wales, Sydney
Plan a trip to Sydney or wait for the national tour to see the annual exhibitions of finalists and winners of the art prizes: Archibald, Wynne, and Sulman. The Archibald Prize consists of artists from Australia and New Zealand capturing the spirit of their times through portraiture and reflecting the personalities and issues that define their communities. The Wynne Prize comprises of landscape paintings of Australian scenery, or figure sculpture which celebrates the varying representations of our country, and the Sulman Prize includes subject painting, genre painting or a mural project. Annually, the trustees of the Art Gallery of New South Wales judge the Archibald and Wynne prizes and invite an artist to judge the Sulman prize and this year it will be the renowned artist, Elizabeth Pulie.
When Schulim Krimper’s furniture was initially displayed at Melbourne’s Georges Gallery in 1951, The Age reported that it was ‘the first time in Australia that furniture has been exhibited as art’, noting ‘here is an artist-craftsman in the best European tradition, working now in Australian woods … by kirsty grant, guest contributer
Schulim Krimper: Mid-Century
Artist & Master
Craftsman
Mark Strizic, Schulim Krimper 1968
National Portrait Gallery
he designs furniture much in the spirit of a sculptor.’1 For Krimper, who had arrived in Melbourne in 1939, the exhibition was a significant turning point – major pieces were sold, his reputation was firmly established and as he recalled, ‘from then on people came to me.’2
Born in Sereth (now Romania) in 1893, Krimper was orphaned as a child and his love of wood and desire to create objects of beauty saw him apprenticed to the town cabinet-maker. Later, he travelled and in the manner of a journeyman, worked through Europe, refining his skills and gaining firsthand knowledge of the traditions of furniture as well as contemporary international design developments. These influences can be traced through Krimper’s work which is remarkable for its diversity, but also immediately recognisable for its focus on the distinctive qualities and beauty of Australian and imported timbers. Respect for his material was central to Krimper’s approach and he expected nothing less from his clients, saying ‘a man to whom I sell my furniture must be willing to wax it himself – no, his servants will not do.’
The Georges’ exhibition was initiated by Robert Haines, a great champion of Krimper and his work, who was also the driving force behind the National Gallery of Victoria’s acquisition of two major pieces in 1948 – the first time the Gallery had collected the work of a local modern furniture-maker. This acknowledgement of Krimper’s work continued
with an exhibition organised under the auspices of the Commonwealth Department of Trade at the Rockefeller Centre, New York in 1956 and in 1959, a retrospective exhibition at the National Gallery of Victoria.
Schulim Krimper: Mid-Century Artist & Master Craftsman is the first time in fifty years that a significant group of Krimper’s work has been assembled. The exhibition presents a range of furniture from the 1940s to the 60s, including many pieces from private collections that have never been shown in public. From cocktail cabinets and desks to chairs and sideboards, Krimper made what he described as furniture for our own time, and while it is redolent of the mid-century decades in which it was produced, his work has stood the test of time and is avidly collected today, as well as treasured by many who hand it down through the generations.
1. ‘Furniture Exhibition’, Age, Melbourne, 10 April 1951, p. 5
2. Krimper quoted in Veronica Matheson, ‘The craftsman and his caress’, The Herald, Melbourne, 7 May 1969, p. 25
Schulim Krimper: Mid-Century Artist & Master Craftsman is at Bayside Gallery, Brighton Town Hall, cnr Wilson and Carpenter Streets, Brighton from 5 July – 24 August 2025. Entry is free.
below:
Krimper, Shallow chest on stand c. 1948, National Gallery of Victoria
left: Krimper, Cocktail cabinet on stand c. 1950, Art Gallery of Ballarat
Schulim Krimper Drinks
The Rise of Retro Jewels: 1930s to Mid-Century Glamour
by
opposite
opposite middle: 18ct two-tone gold, lapis and diamond ring
$2,600-3,600
opposite right: 14ct gold and gem-set
$3,600-5,500
left: Lauren Bacall / Alamy
left: 14ct gold and citrine ring
$500-800
charm bracelet
steven milonas, head of fine jewels & timepieces
the era spanning the 1930s through to the 1960s gave birth to some of the most dynamic and enduring styles in jewellery history. Often referred to today as “retrospective jewellery,” this mid-20th century period is celebrated for its unapologetic glamour, bold use of yellow gold, and statement-making silhouettes.
It is without a doubt the most desired and collectible genre at present. With roots in the waning Art Deco movement and branches reaching toward the optimistic modernism of the postwar years, this era produced pieces that continue to captivate collectors, designers, and wearers alike.
the legacy of art deco
Though Art Deco had its peak in the 1920s, its influence carried well into the early 1930s. The streamlined geometry, symmetry, and machineinspired forms softened slightly in the wake of the Great Depression, evolving into what we now recognize as ‘retro’ style. Jewellery from this transitional phase maintained the strong lines and architectural precision of Art Deco but began to incorporate more curves, dimension, and a more sculptural aesthetic.
the bold and the beautiful
The 1940s saw the rise of yellow and rose gold as dominant materials— partly due to wartime restrictions on platinum and partly in response to the growing desire for warmth and richness. Gold became not just a material, but a canvas for drama. Oversized scrolls, voluminous ribbons, and sculptural floral motifs began to dominate brooches, necklaces, earrings, and bracelets. These were jewels made to be seen, to reflect strength and femininity in equal measure.
Hollywood’s Golden Age helped fuel the popularity of these pieces. Onscreen sirens like Marlene Dietrich and Lauren Bacall were often adorned with hefty bangles, dramatic clips, and gold chokers—accessories that exuded confidence and opulence.
charms, sentiment, and the henry dankner appeal
Among the most endearing and collectible symbols of this era are charm bracelets, particularly those crafted by Henry Dankner & Sons. Founded in the early 1930s and flourishing through the ‘50s and ‘60s, Henry Dankner became synonymous with richly detailed, whimsical 14k gold charms that often contained moving parts, hidden compartments, or enamel detailing. His work perfectly embodied the era’s penchant for personal storytelling and playful luxury.
Charm bracelets became wearable diaries—each charm a memento of travel, romance, or milestones. Dangling gold telephones, a whimsical floral bouquet, dogs, cocktail shakers, sailing boats and miniature photo frames adorned wrists, each one animated with meticulous craftsmanship and character. A single Dankner charm might feature a secret compartment or moving elements, making them not just ornamental, but interactive keepsakes.
mid-century modern and jewellery’s evolution
By the 1950s and into the early 1960s, design was evolving once again. While the bombastic shapes of wartime jewellery gave way to sleeker silhouettes, the fondness for gold remained strong. Jewellery began to echo the broader design principles of mid-century modernism—form and function in harmony, with more organic lines and integrated settings for gemstones. Pieces from this later period often feature cabochon-cut stones in subtle pastel hues, textured gold finishes, and an embrace of minimalism—while retaining the confident scale and personality of the earlier retro period.
trending at auction
In today’s vintage and auction markets, retrospective jewellery is experiencing a significant revival. Yellow gold, once overlooked during the white metal craze of the 1990s and early 2000s, is firmly back in vogue. The oversized rings, tank bracelets, and retro brooches once tucked away in grandmothers’ drawers are now prized for their craftsmanship, weight, and undeniable glamour.
Henry Dankner charms, in particular, have developed a cult following. Collectors eagerly seek out rare and unusual designs, especially those in original condition with functioning mechanisms and enamel intact. These charms are often passed down, reconfigured, or worn en masse for a layered, storytelling look that bridges past and present.
a golden age... as desirable as ever!
The jewellery of the 1930s to 1960s represents far more than a style—it’s a statement of resilience, artistry, and bold beauty. Whether worn as nostalgic heirlooms or curated with contemporary flair, these pieces continue to resonate with those who admire substance, sentiment, and sophisticated design. The retrospective era wasn’t just about looking glamorous—it was about making an impression. And decades later, it certainly does.
Our Fine Jewels Auction will take place on Monday, 23 June at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
Wiebke Brix, Head of Art, speaks with Ben Danks, collector of Indigenous art and former assistant manager of Papunya Tula Artists Pty Ltd.
In Conversation with Ben Danks
Can you tell us a bit about your background and how you first became involved with Indigenous art?
I arrived in Alice Springs in the late 1990’s, looking for work and adventure. I quickly found both. I was employed by the Northern Territory Dept of Arts and Museums, at the Araluen Centre, I worked at Araluen for 5 years finishing as the head of the Visual Arts Department.
At Araluen I was involved in organising Desert Mob, an annual important showcase of works from 30 plus indigenous art centres across central Australia and the Top End. Working on DesertMob connected me with Indigenous art Centres throughout the desert and across the north of the country.
In 2002, I was approached to work for Papunya Tula Artists Pty Ltd. Daphne Williams, a legend within the Aboriginal art world and longterm manager of the company, was preparing to retire, and my life was about to change. It was an intense and vibrant working environment. A young and passionate team of colleagues, employed by Western desert artists to take care of logistics and promote the artwork from that small shop front to an international audience.
The work would take us from the remote, red Sandhills of the desert, to upmarket galleries and institutions in cities around the country and the world.
What was your role at Papunya Tula Artists, and how did your experience there shape your understanding of Indigenous art and culture?
I was employed in the role of Assistant Manager. The company had its administrative Headquarters and public facing operations in Alice Springs, but the heart, soul and artistic output were 500 and 700 kilometres West in Walungurru (Kintore) and Kiwirrkura, on the traditional lands of the Pintupi.
I saw my job as being a conduit or interface between Pintupi artists and their growing audience. I was fascinated by the artwork being produced in the Western Desert.
Pintupi had a very strong sense of and connection to their culture. Their language and traditional ceremonies were and are, central to their existence. Company employees were surrounded by all of this, during the highs and lows of day-to-day life in the Western Desert. The experience changed my life.
How did you come to assemble this particular collection, and what guided your choices in selecting the works?
It’s been an amazing journey, and these works have been collected along the way. Often, I was there when a painting was created or when the latest paintings came in from “out bush” and the memories of that time and the people come flooding back when I see these works again.
I would be influenced by a respect or affection that I had for an artist. That combined with what I felt was a great painting. Those things would heavily influence my collecting.
Are there any particular artists or pieces in the collection that hold special significance for you?
Each work sparks memories for me. They all take me back to a place and time. By way of example, the large painting by Johnny Yungut Tjupurrula conjures up a memory:
I had driven from Alice Springs to Walungurru (Kintore) and arrived mid-afternoon to find a friend and colleague tidying up after a busy day. Everyone had gone except Tjupurula who sat on the floor painting. There was clearly a mutual respect between these two.
The usually hectic art centre was quiet and still. This rare occurrence was enhanced by the fact that my six hour drive on the corrugated Kintore road, had ended. After stepping out of a noisy Landcruiser, my body was no longer being shaken around.
A delightful calm hung in the air. With the softening late afternoon light, the light only Central Australia can deliver, we hung Tjupurrula’s painting on the wall and it seemed to radiate from within. Gentle and
powerful, all at once.
There are two works in the collection by Walankura Napanangka. She had lost the use of her legs and got around on a three wheeled trolley, through the dust and the heat. Napanangka had an incredibly challenging existence, however she was resilient and incredibly positive. She was truly an inspiration.
What themes or stories are central to the collection, and how do they reflect the cultural heritage of the artists?
This group of works have been brought together through a series of factors. A combination of my “eye”, my knowledge of, or relationship with the artist and being in the right place at the right time.
Most of these works are from Central Australia. As a result, the stories tend to relate to the landscape. They tell how elements in the landscape came into being and crucially, they are often maps and instructions, on how to move through the country. Desert paintings often have a focus on the location of water sources and how to get to them. They serve a very practical purpose.
Can you speak to the importance of the Papunya Tula Artists community in the broader context of Indigenous art in Australia?
Papunya Tula Artists Pty Ltd, holds a unique place in Australian art history. I am not aware of another Aboriginal art centre, owned by the artists, in this way. The artists are shareholders. The company made a profit and paid dividends to the shareholders annually with no external funding. This gave the artists and the company the ability to work independently. They were not beholden to an external funding source. I was always passionate and proud about that. The company prospered and this was a testament to the quality of work being produced.
Looking back on your journey, what has been the most memorable moment or interaction with an artist or artwork?
There are so many memorable moments. From preparing ochres and searching knee deep in the mangroves for mud crabs with the artist of Jilamara, on the Tiwi Islands, to travelling with Pintupi artists to exhibitions in far-flung countries.
From falling asleep to the distant music of a desert gospel band, playing into the wee wee hours and waking up to the howling desert wind, rattling the windows in the old house in Walanguru. To those all too rare moments, sitting quietly with an older artist as unimpeded, they tap into something greater than the here and now and from a place far beyond themselves, they sing up the Tjukurpa and simultaneously as the song is sung, the painting emerges. There’s a lot to be grateful for.
Ben Dank’s collection of Indigenous art will be offered in a timed online capsule in July 2025.
Timeless Elegance: The Legendary Jewels of Grace Kelly
by lauren boustridge,
grace kelly was the embodiment of elegance, a woman whose beauty and poise transcended both Hollywood and royalty. From her days as an Academy Award-winning actress to her transformation into a Princess of Monaco, she captivated the world with her effortless sophistication. Yet beyond her impeccable style, it was her jewellery collection that truly reflected her refined taste. Each piece she wore was more than just an ornament—it was a symbol of love, prestige, and an enduring legacy. Decades after her passing, her most treasured jewels continue to inspire, reflecting the timeless glamour of a woman who remains an icon.
Grace Kelly’s engagement ring from Prince Rainier III of Monaco set a new standard for celebrity proposals. Initially, he presented her with a delicate Cartier eternity band of rubies and diamonds in Monaco’s colours. However, shortly after their engagement was announced in 1956, a second ring appeared—one that needed no close-up to command attention. The Cartier design featured a flawless 10.48-carat emerald-cut diamond flanked by two baguettes, set in platinum. Its design not only influenced engagement ring trends for generations but also made a cinematic statement when Kelly wore it in her final film, High Society. The story of how she came to wear Cartier is intertwined with Alfred Hitchcock, who had long admired fine jewellery and introduced the actress to the Maison’s Fifth Avenue boutique. He also played an unwitting role in her royal love story, casting her in To Catch a Thief—the film that led to her fateful meeting with Prince Rainier III. Their marriage cemented her place in history, and with it, her engagement ring became one of the most recognisable jewels in the world.
Another notable Cartier piece in Grace Kelly’s collection is the Diamond Festoon Necklace. This exquisite necklace, also set in platinum, features three strands of diamonds, skilfully arranged to form a festive festoon design. The diamonds, both round brilliant and baguette, are gathered by a triangular section on either side, leading to a single row of diamonds. Inspired by garlands of flowers, leaves, or ribbons and often used in grand celebrations, the design exudes both elegance and festivity. With a total of 64 carats of diamonds, the necklace was a striking addition to Grace’s collection of royal jewels. Throughout her life, she paired it with
other pieces such as the diamond and ruby Bains de Mer Tiara and her all-diamond tiara. Now forming part of the Palais Princier collection, the necklace is frequently loaned for exhibitions around the world. It remains a cherished heirloom, and in 2019, Grace’s granddaughter Charlotte Casiraghi wore it on her own wedding day, ensuring the piece’s continued legacy in Monaco’s royal family.
Grace Kelly’s love for pearls was unmistakable “I favour pearls on screen and in my private life,” she once shared, adding, “a woman needs ropes and ropes of pearls.” When it came time for Prince Rainier III to select a wedding gift, he took Grace to the Van Cleef & Arpels boutique in New York, where they met with Louis Arpels. There, Grace chose a selection of pearl jewellery created between 1953 and 1956, including a triple-strand pearl necklace with a diamond swirl motif, a matching triplestrand pearl bracelet with a diamond blossom motif, pearl earrings accented with baguette and marquise-shaped diamonds, and a diamond blossom ring with a pearl centre. While the pieces were carefully coordinated, they didn’t perfectly match, allowing Grace to create a royal suite that was uniquely her own. This trip to Van Cleef & Arpels marked more than just a shopping excursion—it solidified the jeweller’s relationship with the Monegasque royal family. Three months later, Van Cleef & Arpels was named the “Official Supplier to the Principality of Monaco.”
Since Grace’s passing in 1982, the Grimaldi family has ensured her beloved jewels continue to be appreciated by the public, often lending them for prestigious exhibitions around the world. In a poignant moment of tribute, her daughter, Princess Caroline of Hanover, wore the complete Van Cleef & Arpels pearl and diamond suite for the first time at the 2019 Rose Ball in Monaco, bringing the suite full circle and honouring Grace’s enduring legacy.
opposite:
Grace wore her own Cartier engagement ring during the filming of High Society / Alamy
right: Princess Caroline wearing the Van Cleef & Arpels pearl and diamond suite / Alamy
far right:
Grace wearing the Cartier Diamond Festoon Necklace / Alamy
When former Australian Prime Minister, Gough Whitlam, opened an art exhibition at East & West Art in 1988, the gallery was already well-established as a centre for contemporary Asian and Western art in Australia.
dr damian smith, president, australian chinese art research institute, director acae gallery
Marjorie Ho’s
East & West Art
A model wears a Chanel shopping basket creation by Karl Lagerfeld in the set of a Chanel Shopping Center in the Grand Palais in Paris, 2014. / Photo: Hendrik Ballhausen/ dpa -NO WIRE SERVICE/KEIN BILDFUNK-/dpa/Alamy Live News
opening in 1973, East & West Art was the vision of husband-andwife team, Marjorie Ho and Dirk Eysbertse. From Singapore and the Netherlands respectively, the couple were married in 1954 at the West Hampstead Registry in London, residing in Holland, before migrating to Australia. At a time when mixed marriages were rare, the newlyweds knew first-hand the challenges of racial politics in Australia. Equally, they recognized the power of art to transform perceptions about the diversity of cultures throughout Asia and the importance of engagement therein, especially for an emergent and newly mobile audience in Australia. Notably, in the same year that East & West Art opened, the Whitlam Labor government renounced the now-notorious White Australia policy. The program ushered in a new era for Australia including an influx of migrants from the region. East & West Art became a distinct part of the zeitgeist.
In establishing East & West Art, Marjorie and Dirk were drawing on their exposure to diverse cultures in both Asia and Europe. Prior to meeting Marjorie, Dirk had already worked for several years in Indonesia, with the Dutch East Indies Co. and Marjorie came of age in the turbulence of World War Two. As a child, she had been evacuated from Singapore, just a week prior to the Japanese invasion, departing on the last ship to safely leave the island. She fled to India with her mother and siblings, while her father was interned in Singapore. In her 1997 interview, with historian Diana Giese, Marjorie recalled her passage to India:
“Mum had to queue up for warm clothing because she knew already, they were sending us straight up to the Himalayas. I mean, from the equator to the Himalayas is no joke, so she had to line up for woollen singlets, woollen underpants. I was left in charge of my brothers in the corner of the warehouse. We waited the whole day, and we were quite terrified, because I was about 10 or 11 years old, before she came back.” 1
In India Marjorie studied Subcontinental history, Hindustani and Latin, amongst other subjects. Later, viewing the destruction wrought on her home, she decided to become an architect. Marjorie settled on the University of Melbourne, becoming one of the first Chinese women to study in the Architecture faculty.
It was, however, her early exposure to antique collecting from her grandfather that ultimately guided Marjorie to open East and West Art. Marjorie was born in 1932, into a prominent Singaporean family. Marjorie’s grandfather, Ho Siak Kuan (1865-1946), M.B.E., had been the Chief Chinese Translator for the Straits Settlement Government and later as the Assistant Secretary for Chinese Affairs.
I first met Marjorie Ho in 2008 while planning an exhibition of Chinese ceramics. For the exhibition, East & West loaned Yangshao (仰 韶文化) vessels dating between 3,000 and 5,000 BCE, which featured as a highlight in the show. Marjorie was instantly welcoming and proved to be a font of knowledge; she would hold forth on clay, glazes, kilns, firing
techniques, throwing and trade routes; she possessed a forensic sensibility, at times alighting on a seemingly mundane vessel only to reveal its secrets. One could never look at ceramics, or indeed any other object in the same light after a conversation with Marjorie.
Additional to her interests in Chinese and South Asian antiquities, Marjorie was fascinated by developments in contemporary art. I was delighted to discover that the now famous artist Shen Shaomin ( 沈少民) had exhibited at East & West Art. The Australian Chinese Artist Association and the Chinese peasant painters who produced the mural for the Victoria Market, had all had early exhibitions at East and West Art. According to Chinese art specialist Professor Claire Roberts, in 1975, East & West Art exhibited works by artists Ding Yanyong (丁衍庸) (1902-1978) and Huang Binhong (黃賓虹) (1865-1955).2 The back catalogue is littered with artists from across Asia - Chang Dai-Chen (張大千) (1899-1983), Made Wianta (1949-2020), and Satish Gupta (b.1947-) to name just a few.
In time, Marjorie would be lauded as the doyen of Asian antiquities; however, she would hate that I say so. She sold countless works to private and public collections; she became a Federal valuer for Australia in Asian antiques and fine arts, covering China from 5000BCE to contemporary, as well as Japan, Korea, India and Southeast Asia in Fine Art and antiques, paintings, textiles, sculpture, furniture and object d’art. She was awarded life membership at numerous cultural organisations, including the Chinese Museum, the Chinese Association of Victoria, and the Southeast Asian Ceramic Society Singapore. She was also the Victorian representative for T.A.A.S.A., The Asian Art Society of Australia.
Importantly, as this auction reveals, East & West Art amassed an encyclopedic stock-in-trade, covering numerous Asian regions and periods. Marjorie would tell stories about her annual trips to China and the Military General who would open the doors to vast storehouses of treasures! Countless adventures followed.
Leonard Joel is proud to present The Marjorie Ho Auction on 8th and 10th of June —a remarkable offering of fine art and objects from across Asia. The collection features important works by artists such as Ding Yanyong, Shen Shaomin, You Si, Chen Chao-Pao, Nyoman Gunarsa, Feng Yongji, Satish Gupta, and more. Complementing the paintings is a curated selection of ceramics, sculptures, jades, furniture and other works of art from China, Japan, Korea, and Southeast Asia.
A Rare Khmer Black and White Glazed Figure Formed Jar, 12th/13th Century $600-800
above:
Nyoman Gunarsa (Indonesian, 1944-2017)
Moksa Kohuk Dance (Two Male Dancers)
2005, Oil on canvas, with original hand carved wooden frame
Image: 145 x 145cm
$7,000-9,000
left:
A Chinese Qingbai Vase and Cover, Southern Song Dynasty (1127-1279)
$5,000-7,000
right:
A Rare Vietnames Blue and White and Red and Green
Deocrated Lion Charger, 14th/15th Century
$800-1200
Trends come and go, but these iconic styles have stood the test of time.
by bethany mcgougan, guest contributer
Five Classic Gucci Bags to Invest In
feature bamboo handles, the Diana bag was released by the house of Gucci in 1991. Famously carried by Princess Diana, the design was modernised in 2021 and now presented with distinct leather belts which reference the functional bands traditionally used to hold bamboo handles in shape.
Alexa Chung seen att the Gucci fashion show / Alamy
2. JACKIE 1961
With a perfect blend of vintage charm and contemporary sophistication, the Gucci Jackie bag has long been a favourite among collectors of iconic luxury designs. Originally introduced in the 1950’s, the hobo design bag gained legendary status when it was spotted on the arm of Jackie Kennedy. More recent iterations of this classic design have included a more structured silhouette paired with vibrant colours and finishes.
4. DIONYSUS
Debuting under the direction of Alessandro Michele in 2015, the Gucci Dionysus bag quickly became a cult favourite. The signature feature of the design is the tiger head closure, which references Greek god Dionysus who crossed the Tigris River on a tiger sent by Zeus. For lovers of bold and functional design, the Dionysus bag is a must have.
3. THE CHAIN HORSEBIT
Paying homage to Gucci’s equestrian heritage is the Chain Horsebit bag released under the creative direction of Tom Ford in 2003. Anchored in earlier iconic designs such as the Horsebit 1955, Ford elongated the design and paired with a chain strap. The result is a design that exudes sophistication and versatility, hallmarks of Ford’s statement-making appeal as a designer.
5. BAMBOO 1947
A true testament to innovation, the Bamboo 1947 bag remains of Gucci’s most iconic designs. Envisioned within the cultural climate of post war Italy where materials were scarce, artisans turned to bamboo as a workable material in fashion design. The historic style has been reintroduced with contemporary updates such as detachable shoulder straps and creative colorways, cementing the design within the contemporary fashion landscape.
Brooching the Subject: The Renaissance of Artful Adornment
by hamish sharma, head of important jewels
Uma Thurman attending The Metropolitan Museum of Art Met Gala 2016, in New York City / Alamy
long relegated to antique jewellery boxes and the lapels of eccentric relatives, the brooch has undergone a spectacular transformation. No longer a quaint relic of the past, this timeless accessory has reclaimed its place at the pinnacle of style.
Brooches are once again gracing runways, red carpets, and curated wardrobes with a renewed sense of poise and power. Their reemergence is not simply a nostalgic indulgence—it is a modern sartorial awakening. In a world increasingly defined by personal expression and quiet luxury, the brooch speaks volumes.
This revival is anchored in the brooch’s unmatched versatility. As both ornament and emblem, a brooch can elevate the simplest silhouette into a moment of high style. Far from mere embellishment, it offers an intimate expression of identity, heritage, and aesthetic discernment. Whether gleaming with precious stones or fashioned from enamel and gold, each brooch is a miniature sculpture—an object of personal meaning as much as visual pleasure. In this age of overproduction, the brooch appeals as a curated counterpoint: intentional, expressive, and deeply personal.
Designers and tastemakers have embraced the brooch’s return, integrating it seamlessly into both traditional and avant-garde fashion. When pinned to the lapel of a tailored blazer or the shoulder of an evening coat, a brooch becomes a sophisticated focal point. Multiple brooches, layered with care, offer a maximalist elegance—an opportunity to play with scale, texture, and form. This curated extravagance is not about excess, but about refinement and personalisation. The brooch grants its wearer a unique language of style.
In more subtle gestures, brooches lend themselves to the everyday with understated grace. A single, sculptural pin at the hip can redefine the lines of a dress; a delicate accent at the collar or on a cashmere sweater can imbue an outfit with quiet distinction. Adornments on hats, bags, or gloves create unexpected moments of charm and sophistication. This adaptability makes the brooch as relevant in daywear as in evening ensembles, appealing to a new generation that appreciates both craftsmanship and creative self-expression.
Among the most enchanting brooches are those that embrace the whimsical. First gaining prominence in the early 20th century, these designs brought a light-hearted elegance to fine jewellery. From fanciful florals to charming motifs like birds, bicycles, or teapots, whimsical brooches have long delighted collectors and aesthetes alike. Their appeal lies not only in their artistry, but in their celebration of individuality and imagination. Today, these pieces are treasured not only for their visual delight, but for the stories they tell and the moods they evoke.
Brooches also possess a unique communicative power, extending far beyond their ornamental function. Few exemplify this more vividly than Madeleine Albright, the first female U.S. Secretary of State. With subtle brilliance, she transformed her brooches into tools of diplomacy. Her collection, showcased in the book Read My Pins, revealed how a single accessory could articulate mood, assert presence, or even signal political messages. A missile-shaped pin worn during arms negotiations or a bug brooch following a surveillance scandal were not mere flourishes—they were statements. Albright’s approach demonstrated the brooch’s rare capacity to embody intellect, wit, and authority all at once.
Royalty, too, has long understood the symbolism and stature of brooches. Queen Elizabeth II’s resplendent collection is a masterclass in historic gravitas and personal taste. Chief among her treasures is the Cullinan III and IV brooch—two immense diamonds, affectionately known as “Granny’s Chips,” cut from the largest gem-quality rough diamond ever discovered. They remain enduring icons of regal sophistication.
Intriguingly, the brooch is no longer confined to women’s fashion. Its adoption into menswear signals a broader shift in contemporary style. Fashion houses such as Gucci and Alexander McQueen have reimagined the brooch as a luxurious yet modern element of the masculine wardrobe. The cultural vanguard—Harry Styles, Timothée Chalamet, and Justin Timberlake among them—have embraced this shift with unmistakable flair. Whether it’s a pearl brooch on a velvet tuxedo or a jewelled panther on a silk lapel, these statements reflect a refined rebellion.
The brooch, in its current renaissance, is more than a trend. It is a response to fashion’s growing desire for meaningfulness and craftsmanship. In a market oversaturated with fleeting fads, the brooch offers something enduring—something curated. It rewards the eye and the intellect. It draws from heritage while speaking to the now. Whether adorned with diamonds or fashioned from found materials, the brooch has returned not merely as decoration, but as declaration.
And so, the brooch reclaims its rightful place: at the intersection of artistry, expression, and elegance. For those who appreciate the details—the finely wrought clasp, the thoughtful design, the rich narrative it carries—there is no accessory more refined, more powerful, or more quietly captivating.
right: Jean Schlumberger for Tiffany & Co. Citrine, ruby and diamond
'Bird on a Rock' brooch Sold for $62,500
Leonard Joel is the only Australian auction house to present biannual auctions and live viewings dedicated exclusively to Prints & Multiples, and is the acknowledged leader in the Australian auction industry for important editioned prints.
by hannah ryan, senior art specialist & manager of specialty auctions
In Print: Six Years of Standout Works and Stories
JOHN BRACK (1920-1999)
since joining leonard joel in 2019 as the Prints & Multiples Specialist, I have had the privilege of curating and handling significant prints by leading Australian and international artists. Reflecting on my time in this role, I would like to share a selection of works that have left a lasting impression on me over the past six years.
2019
A standout work that continues to resonate with me is Appalling Moment (Wig) 1995 by New Zealand-born artist Brent Harris. Renowned for his ability to fuse the playful with the grotesque, Harris creates imagery that is simultaneously strange and disarming, yet laced with a wry, often unsettling sense of humour. Developed during a formative residency in Paris in the early 1990s, the Appalling Moment series introduced recurring motifs such as eye-like portals, phallic trunks and surreal, abstracted bodies that would come to define this period of his practice. Appalling Moment (Wig) was among the first works to mark this new direction, produced in an edition of 20 using enamel on stainless steel.
2020
Amid strong local and international bidding, we achieved what was then the global auction record for Keith Haring’s Silence = Death 1989. Created in the last year of his life, this print is one of his most powerful and important screenprints. Bold and immediate, it distils Haring’s graphic style into a searing political message and produced at a time when the AIDS epidemic was being met with widespread silence. The central pink triangle, once a symbol of persecution, is reimagined as a call to action, surrounded by Haring’s iconic figures radiating urgency and resistance. Silence = Death remains a landmark in both contemporary art and the history of activism.
2021
2021 became the ‘Year of Banksy’, with his record prices not only being set but repeatedly surpassed, as auction results captured headlines worldwide. Artprice reports that total sales across auctions that year alone exceeded $260 million AUD. One standout example is Jack and Jill (Police Kids) 2005, which was originally purchased from Leonard Joel in 2013 for just $3,170 (IBP). A story I particularly enjoy when consigning artwork is that of a collector acquiring a piece for the love of art, rather than as a financial investment, which was certainly the case with this work. What began as a passionate purchase ultimately proved to be a clever investment, with the print selling for $112,500 (IBP).
2022
One of my personal favourite artists, Jessie Traill was a pioneering figure who helped shape the trajectory of Australian printmaking in the 20th century. Widely regarded as one of the most important printmakers of the inter-war period, her work is celebrated for its distinctive blend of lyrical natural subjects and bold industrial imagery, demonstrating both technical mastery and a uniquely poetic vision. Charing Cross Bridge 1907 was one of her first examples using the forceful and dramatic effects of chiaroscuro, leading her to a wider focus of industrial scenes. Achieving a result of over four times the low-end estimate, she was one of the most influential female printmakers of her time.
2023
A highlight of our 2023 auctions was Lucian Freud’s Girl Holding Her Foot 1985, which achieved nearly double its low-end estimate after competitive bidding from both local and international collectors. With a strong result the work was acquired by a local buyer, underscoring the strength of the Australian market for significant international editions. While Freud’s paintings are rare and command formidable prices, his etchings offer a more accessible entry point for avid collectors. Girl Holding Her Foot exemplifies Freud’s unique approach to printmaking, treating the copper plate like a canvas and working directly from life to capture the unfiltered presence of his sitters.
2024
When John Brack’s Third Daughter 1954 appeared on the market for the first time, it sparked a frenzy of bidding across in-room, absentee, telephone and online platforms. Created in 1954 as part of a series of four etchings, each portraying one of his daughters, Third Daughter stands out for its emotional immediacy. The girl’s square stance, clenched fists and determined scowl capture a fleeting childhood mood with remarkable clarity. Both humourous and tender, the work reflects Brack’s ability to distil personal moments into powerful and universal images, marking an early and important moment in his exploration of printmaking. (Illustrated on the previous page)
2025
We presented our first Prints & Multiples auction of 2025 in April, and it is difficult for me to select just one highlight as each work is still prominent in my mind and special in their own way. The sale included a selection of Eric Thake Christmas cards from 1950 to 1975, works from the Estate of Murray Griffin, linocuts by Marguerite Mahood and Adelaide Perry, along with portfolios by international artists such as Victor Pasmore and Patrick Heron.
Looking back over the past six years, it’s been a privilege to witness the growing appreciation for editioned prints in the Australian market. From early Australian masters to contemporary international icons, each auction has highlighted the diversity and depth of printmaking as a collecting category. As interest continues to build across generations of collectors, it has been rewarding to share these moments with collectors and to see prints embraced not just as accessible works, but as meaningful additions to thoughtful and evolving collections.
We are now consigning for our Prints & Multiples auction to be held in December 2025. If you are considering selling an artwork or collection, please feel free to contact us for a complimentary appraisal.
2019
2020
KEITH HARING (1958-1990)
Silence = Death 1989
screenprint, ed. 84/200
Sold for $60,000 IBP
2021
BANKSY (British, born 1974)
Jack and Jill (Police Kids) 2005
screenprint, ed. 288/350
Sold for $112,500 IBP
2022
Sold for $8,750 IBP
2023
etching, ed. 8/50
Sold for $41,250 IBP
1922-2011)
LUCIAN FREUD (German,
Girl Holding Her Foot 1985
JESSIE TRAILL (1881-1967)
Charing Cross Bridge 1907
etching
The distortion of proportion – an exercise in asymmetrical watches
by patricia kontos, senior timepieces specialist
left: Timothee Chalamet at the Golden Globe Awards wearing a Cartier crash watch / Alamy
it is logical to assume that we associate symmetry with consistency, precision with accuracy, order with exactness, and where else do we demand and expect these elements than in an instrument that is the essence of the aforementioned: a watch. Thinking back to those formative days in school, learning how to tell the time on a simple circular clock face dial, and even through the journey of a portable clock to pocketwatch, we take for granted that watches are in the first instance, geometrically round. Delve a little deeper and the round shape was not landed upon as some hit or miss choice – good design is rarely random. There are underlying reasons and principles that guide design choices, and in the case of early movements they were destined to be round, because it made it easier to fit the movement into a pocket watch, round shapes slide in and out more smoothly than other shapes. Mechanical components like plates, escapements, and balance springs too were arranged in a circular fashion because watch movements are most crucially, wheels.
Having to adapt these movements to non-circular cases would always be more challenging and potentially less efficient, and yet around the 1970s and in the midst of the ‘quartz crisis’ emerged a willingness on the part of watchmakers to depart from the standard circular mould, and explore the realms of non-traditional case possibilities, which in some instances resulted in some surreal outcomes. These daring designers proving precision and asymmetry can tick away independently of each other.
Of all the collected Swiss watchmakers, Cartier stands head and shoulders above the rest in their creative, daring and playful presentations of shaped watches, with a penchant for the oblique, irregular and distorted. Their daring departures continue to pay dividends as they rework and release editions of celebrated classics from the Tank Asymetric to Cloche to La Dona. But if there is one watch that can be credited with the assurgent interest in shaped watches then that lies fairly and asymmetrically with arguably the most arresting and unconventional designs in the history of watchmaking: the Crash. Conceived in Cartier’s London Boutique in 1967 this piece of melted metal is really a case of once you see it you can’t unsee it and can only be described as revolutionary.
Another pioneer in the asymmetric watch realm is the powerhouse Vacheron & Constantin, not only laying claim as the oldest continuous watch brand in the world, but along with Audemars Piguet and Patek Philippe it forms one of the thee pillars of Swiss watchmaking excellence.
And in saying that, you would think VC would be a characteristically restrained, safe and sober bet, instead what makes this brand so captivating and awe-inspiring is its foresight and innovation, a product of which is their asymmetric Prestige de la France released in 1972. The paradox being that even with an unorthodox case shape, it is still deceptively perfect as it actually follows the Golden Ratio, Euclid’s mathematical formula that has fascinated mathematicians and artists since antiquity. And if the eye-catching design wasn’t enough the brand received the prestigious Diplôme du Prestige de la France, an award for achievement and contribution to French heritage in recognition of their unusual ground-breaking trapezoidal timepieces.
Travelling across the pond we turn to another powerhouse in watch manufacturing, founded in Lancaster Pennsylvania, the Hamilton Watch Company. If ever there was a watch that challenged watch design status quo you’ll find it in all its rebellious glory in Hamilton’s very funky, Ventura. Imagined by American industrial designer Richard Arbib in 1957, the Ventura broke all existing moulds in its unusual winged, shield-shaped case design. Not only was it powered by an electric calibre 500 which could run by the power of a mechanical movement in combination with an electrical battery, the case design was the definition of anti-establishment and intuitively it found its ‘brand ambassador’ in the era’s foremost proponent, Elvis Presley, when worn by him in his film Blue Hawaii. Like the King, the Ventura’s impact was electrifying, a historical landmark whose impact continues to be felt.
Which is the precisely the point with this exciting subset of watches, collectors now appreciate and value these asymmetric watches as much for their distortion as for their precision.
Our Timepieces auction will take place on Monday 23 June at 4pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
FIVE MINUTES WITH JANE GOH
In this issue we get to know Art Assistant, Jane Goh.
favourite auction purchase
Definitely this Deborah Russell lithograph. We had a beautiful pastel work by the artist in our April Art Salon Capsule that I just couldn’t stop thinking about, so you can imagine how happy I was to be able to win this gorgeous work.
favourite movie
My Letterboxd profile will say that I have a fair few, but it’ll have to I’m Thinking of Ending Things (2020). The surrealist film feels like a two-hour long fever dream with disconnecting scenes, jarring jumps and offbeat dialogue. Everything Charlie Kaufman touches is gold, that’s for sure.
leonard joel staff all seem to have a side project or creative hobby, what’s yours?
Having grown up in a family of painters, it’d be criminal if I didn’t say painting. I enjoy exploring the uncanny and the unsettling, while incorporating dream-like qualities into my work. When I’m not painting or at work, I’m at a library typing away at my thesis on late medieval Japanese Buddhist art, with a focus on the proselytization of womencentred hell imagery.
what are you currently sipping on?
I’m a sucker for anything with a floral gin base. My specific drink of choice does change seasonally though - I love a refreshing elderflower yuzu spritz in summer, and a warming rum horchata in winter.
if money were no object, what would be your dream auction purchase?
Oh, easy - a Louise Bourgeois Maman sculpture (a smaller one was recently sold at auction for $32 million). The challenge would be to find the space for it! The reason for its monumental size is that Bourgeois wanted to capture her mother’s protective yet overbearing presence, looming over her long after her death. Whenever I get the chance to see any of the Maman’s spread across the world, I can’t help but find myself drawn towards it, not out of terror but rather of a yearning for its protection. It’s also just really cool.
Conservation often focuses on survival of a species, and while this is important, it is underpinned by an indisputable fact: individual animals matter.
This is exemplified by the story of rescued elephant Annabelle, who has made the most of her second chance at life.
Annabelle was rescued in 2015 with two other elephant calves. The zoo to which they were being sent rejected them due to their physical imperfections. As they had been taken from their mothers at such a young age, their recovery would be complicated, however they were taken in by IFAW partner Wild is Life in Zimbabwe.
Annabelle is missing her tail and half her trunk, possibly due to an attack by lions or hyenas when she was very young. The damage to her trunk meant it was unlikely she would survive in the wild; elephants use their trunk to grasp objects, take in large amounts of water, swat insects and spray dust over themselves, eat grass and soil for much-needed nutrients, as well as for social bonding and communication. It is one of the animal kingdom’s most versatile and complex appendages.
However Annabelle worked around her disability. She learnt how to use her left foot to lift an orange to her mouth, and to kick a clump of grass to break it up before eating it. Her carers noticed her strong and determined personality – she could still use her trunk as a weapon to show her displeasure.
Annabelle also started showing compassion for other disabled elephants, especially partially-blind Nora, whom Annabelle guides patiently through the bush, and stays beside while sleeping, mothering and eating.
In 2018, Annabelle and five other elephants were translocated to Panda Masuie Forest Reserve, where she became a leader of the herd. Reflecting her independence, she would sometimes wander out for up to six weeks with wild elephants before returning to the bomas.
In January last year, she gave birth to a calf named Summer, who is thriving. We look forward to watching them both remain important members of the herd and hearing about Annabelle’s leadership and strength for decades to come.
Poaching - mainly for ivory - kills 100 elephants every day in Africa, leaving many calves orphaned and abandoned. After rescue, these calves can be with us for up to 10 years, with dedicated full-time carers, before they return back to the wild.
In addition to rescuing individual animals, we are also addressing the big picture. Our project, Room to Roam, is securing and connecting habitats, creating safe passages for wildlife to travel freely through their home ranges in East and Southern Africa.
Because of the critical role elephants play as ecosystem engineers, saving elephants such as Annabelle, and protecting them and the landscapes in which they roam indirectly protects the other wildlife and plants sharing their habitats. This promotion of healthy ecosystems is critical for the planet’s, and our, health.
See more information about Annabelle, including videos, here:
On 22 March 2017, the first industry briefing between IFAW (International Fund for Animal Welfare) and auctioneers and antique dealers from Australia took place, with the view to ending the auction and antiques trade in rhinoceros horn and ivory. That same year, Leonard Joel introduced a voluntary cessation policy and we are proud to no longer sell these materials. In the 22nd Report, IFAW share the latest news about their conservation projects.
With astute local market knowledge and extensive global experience, Leonard Joel offers the broadest range of specialist expertise in Australia. Scan the QR code and discover the value of your piece or collection with a complimentary online valuation, book an appointment with one of our specialists, or join us at one of our regular valuation days.
WURRANDAN
ROSE WYLIE Ballet Backdrop, 2024 oil on canvas in four parts 366 x 304 cm (overall).
MARINA ABRAMOVIĆ, TONY CLARK, ETHEL CARRICK & ANNE DANGAR, MIKALA DWYER, STEPHEN JONES, FRIDA KAHLO, MARK MANDERS,
MARAWILI, DHAMBIT MUNU GURR, LISA REIHANA, HENRY ROY, CARLA SOZZANI, MARK STEVENSON, PRITA TINA YEGANEH, ERWIN WURM, ROSE WYLIE, SHARON VAN ETTEN & MORE
Mid-century artist & master craftsman
The Krimper name is legendary within the field of mid-twentieth century Australian furniture. Creating modern handcrafted furniture that celebrates the beauty of local and imported timbers, Krimper’s distinctive work reflects his European training and knowledge of international traditions and contemporary design developments.
Schulim Krimper: Mid-century artist & master craftsman presents a range of Krimper’s exceptional furniture, including pieces from private collections which have never been shown in public. Curated by Kirsty Grant.
Bayside Gallery
Brighton Town Hall
Cnr Wilson & Carpenter Streets
Brighton VIC 3186
T: 03 9261 7111
Opening hours: Wed–Fri, 11am–5pm Sat & Sun, 1pm–5pm bayside.vic.gov.au/gallery @baysidegallery@baysidegaller y
Schulim Krimper, The Lina Bryans writing table 1955, Black Bean, glass National Gallery of Victoria, Melbourne. Purchased, 1973.
First Impressions get a second chance : 100+ masterpieces of French Impressionism return to Melbourne direct from Boston’s Museum of Fine Arts
French Impressionism | NGV International | 6 June – 5 October 2025 | Admission fees apply
24 October 2024: Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, Mary Cassatt, Berthe Morisot and more head to Melbourne for the NGV’s international-exclusive presentation of the major Melbourne Winter Masterpieces® exhibition, French Impressionism, from 6 June 2025. Presented by the NGV in partnership with the Museum of Fine Arts, Boston (MFA), an institution renowned world -wide for its rich holdings of Impressionist paintings, the exhibition features more than 100 iconic paintings, including additional works never -before-seen in Australia
TO BE UPDATED TO IMPRESSIONISTS
Originally presented at NGV in 2021, the exhibition closed just after it opened due to the global pandemic. The 2025 presentation of French Impressionism gives Australian audiences a rare, second chance to experience one of the largest and most significant collections of French Impressionism ever to visit Australia – all exclusively on loan to the NGV from the MFA’s renowned collection in Boston.
French Impressionism charts the trajectory of the late-nineteenth century artistic movement, highlighting the key figures at the centre of this period of radical experimentation who boldly rejected the conventions of the statesponsored Salon and exhibited their ‘impressionis tic’ works independently. The exhibition evokes the artistic energy and intellectual dynamism of the period by placing emphasis on the thoughts and observations of the artists themselves, as captured through letters, journals and articl es. Their voices reveal the social connections, artistic influences and personal rivalries that united the group of rebellious practitioners at the centre of this new art movement.
Moving through a brand-new immersive exhibition design, audiences will experience the hallmarks of Impressionism, including distinctive brushwork, unique points of view, arresting use of colour, as well as places dear to the artists, such as Paris, Fontainebleau Forest, Pontoise, Giverny, the Normandy coast and the South of France. Many artists also recorded movement and change in urban and domestic realms; still life paintings, intimate interiors and modern urban subjects will also feature.
An exhibition highlight will be a breathtaking display of 16 canvases in one gallery by Claude Monet. Painted over a thirty-year period, these paintings depict many of Monet’s most beloved scenes of nature in Argenteuil, the Normandy coast, the Mediterranean coast and his extraordinary garden in Giverny. Together, these paintings demonstrate the full scope of the artist’s immeasurable contribution to the Impressionist movement.
-continues-
A LAST LOOK
In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue.
An 18ct gold, south sea pearl and diamond ring Sold for $7,500 Fine Jewels, March 2025
Patrick Heron (British, 1920-1999) The Shapes of Colour 1943-1978 1978 Sold for $13,750 Prints and Multiples, April 2025
Coral, Onyx and Diamond Bangle Sold for $3,250
Hermès, Birkin '35 Sold for $11,875 Luxury, April 2025
A gorgeous Paul Bram fancy yellow diamond and diamond solitaire ring Sold for $61,250 Important Jewels, April 2025
Patricia Piccinini (Born 1965), Lightning 2006
Sold for $26,250 Centum, May 2025
Frank O. Gehry 'Red Beaver' chair and footstool for Vitra
Sold for $5,750 Modern Design, May 2025
With regular auctions in Fine Art, Jewels & Watches, Decorative Arts, Modern Design, Luxury and more, there’s something
to suit every taste at Leonard Joel.
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Bidding is simple and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.
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VALUE, SELL & BUY
Contact a Leonard Joel Specialist
managing director & head of important collections
John Albrecht 03 8825 5619 john.albrecht@leonardjoel.com.au
Auction Specialists
important jewels
Hamish Sharma
Head of Department, Sydney 02 9362 9045 hamish.sharma@leonardjoel.com.au
fine jewels & timepieces
Steven Milonas
Head of Department 03 8825 5645 steven.milonas@leonardjoel.com.au
fine art
Wiebke Brix Head of Department 03 8825 5624 wiebke.brix@leonardjoel.com.au
Amanda North
Senior Fine Art Specialist 03 8825 5644 amanda.north@leonardjoel.com.au
decorative arts
Chiara Curcio
Head of Department 03 8825 5635 chiara.curcio@leonardjoel.com.au
asian art
Luke Guan
Head of Department 0455 891 888 luke.guan@leonardjoel.com.au
